Modern Painting A. Bossi Carozzi Flower Composition XX Century - Flower Composition

Interior of Stable

Oil on hardboard. Signed lower right. The Cremonese painter Carl Vittori specialized in landscape views of his Po Valley lands or in scenes with animal figures, always linked to peasant life, like this stable interior inhabited by a donkey. The chromatic and luminous choices are suggestive. The work is presented in a frame.

Oil on cardboard. Unidentified signature lower right. Landscape glimpse of a peasant countryside, with farmers approaching the wheat field, full of golden ears, while to the left of the path there is a shady spot, which leads to a fence. The painting is presented in a contemporary gilded frame, with small defects.

Mixed media on paper. Delicate oval portrait of a young man, whose face and hair fade into the pastel colors of the background, which seems to be one with his figure. The work is presented in a contemporary frame.

Oil painting on canvas. The large landscape presents a view of a mountain lake, on the shore of which there are some huts; coniferous forests form the backdrop, creating the chromatic contrast between the blue of the sky and that of the water. The painting has a small tear in the canvas in the center. It is in a style frame.

Oil painting on canvas. Portrait of a young gentleman. It has several color drops. It is presented in a contemporary lacquered frame.

Amarici (Etiopian Figures) 1930s

Pencil on paper. Signature, title and location lower right. In the second half of the 1930s, Contardo Barbieri left as a volunteer for the campaign in East Africa. From this period there are some works that propose oriental subjects, such as these characters of the Ethiopian people called Amharic because they were natives of Amhara, a region of central-northern Ethiopia where the city of Dessié is located. In frame.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

Thomas's Disbelief

Stained glass window, with hand painted polychrome glass. The scene from the Gospel is depicted in which Saint Thomas, after having doubted his Resurrection announced by the other disciples, recognizes Jesus who appears to him and asks him to touch his wounds on the Cross with his hand. The work has some slight breaks and some original glasses are missing, which have been replaced. It is mounted in a recent frame.

San Pietro in Verzolo

Oil painting on canvas. Signed lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame. on page 66 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The view of the small village on the outskirts of Pavia, seen from the countryside, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends" to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Bronze plaque with bas-relief figure. The figure of a naked man is depicted, holding an arrow and aiming it at the center of a target: the symbolism is evident, that is, the exaltation of the determination of the man who must go straight to the target; this meaning is well suited to the fascist period to which the plaque dates back, as is the reference to classicism. The plaque is inserted and presented in a contemporary wooden frame.

Rovereto, 1920

Oil on the table. Signed lower left. The title and date on the back in pencil. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here is a glimpse of the village of Roveleto, a small village in the Piacenza countryside at the foot of the pre-Apennine hills. The work is presented in a frame.

Woman at the Spinning Wheel

Tempera on paper. Signed lower left. Probably a sketch, due to the rapid drafting and unfinished contours, this work presents a young woman sitting spinning at a spinning wheel. The artist Gino Simonetti, painter but also writer, born in the Piacenza area, lived and worked mainly in Turin. the work is presented in a period frame.